Bill Mauldin

World War II "Willie and Joe" Prints - Me Buttons is in th' Way

2006

The Mario Tozzi's business card, with the header "Mario Tozzi /Pittore/ membro del Direttorio nazionale dei Sindacati". With autograph notes of Christmas w...

Correspondence by Augusto Murri is a set that comprises three manuscript letters addressed to “Chiarissimo Collega”: - Bologna, 27 May 1917. 2 pages, 13 x 18 cm. Perfect conditions....

Rotterdam im Aufstieg- Autographs is a heterogeneous lot, composed of 3 items, signed by Ossip Zadkine to Nesto Jacometti. Generally excellent condition, except for aging signs or ...

Autograph Letter Signed by de Pisis - "Love and Flowers" to Gaetano Chiurazzi. Venice, February 10th 1934. In Italian. With stamps and postmarks. Very good condition, with minor aging signs. Original envelope included. Perfectly readable, on ivory color paper and on letterhead "et spiritualis unctio". With autograph notes signed in blue ink at the end of the back, by an undefined author. An affectionate greeting letter written with a rapid calligraphy and in a cryptical way, with quotations understandable only within the friendship relationship between the poet-artist of "Loves and Flowers" and the Italian gallerist, Gaetano Chiurazzi (Naples,1899 - Rome,1967), best-known as "Tanino". De Pisis is today best-known for his cityscapes, metaphysically-inspired maritime scenes, and still lifes, especially those depicting flowers. His work has a particularly airy quality, and is laden with a sort of pathetic pleasure. This letter demonstrates how de Pisis spent his life: between Rome, Paris and Venice, living a very extravagant lifestyle; he had a pet parrot named Coco, and in Venice he was one of a handful of residents at the time who used a gondola. He had two personal gondoliers on 24 hour duty, who wore black-and-gold livery. Filippo de Pisis (born Luigi Filippo Tibertelli, Ferrara 1896 – Brugherio 1956) When he was 20 years old, the young painter from Ferrara had a meeting that changed his life. During his military service, he met the "Dioscuri", the brothers De Chirico and then Carrà. He was sure impressed by their way of seeing painting and, at the beginning, shared the metaphysical style. After a short stay in Rome and Paris, at the beginning of the 1920's, he started to rework his style, made of suggestions and original subjects, where the pictorial line is fragmented and, therefore, defined by Eugenio Montale as "fly-paw painting". The friendship with Julius Evola...